A classic line in Wong Kar-wai's "A Generation of Masters" "Never forget, there will be repercussions." Similarly, it is not an exaggeration to give this sentence two thumbs up to express the spirit of Hong Kong movies, just right. Since the signing of CEPA agreement, Hong Kong films are no longer included in the quota of imported films and can be released and shown in the Mainland. However, the pure flavor of Hong Kong films has gradually disappeared, and even developed into nostalgia for the passing of classics. Although the long-standing argument that Hong Kong films are dead has put Hong Kong filmmakers in an awkward position on the issue of co-production and co-production of Hong Kong films, some Hong Kong filmmakers still insist silently, continue to play the role of Hong Kong films and express the modern "Hong Kong spirit" with the unique background and feelings of Hong Kong films. Produced by Zheng Baorui, directed by Ho Leung Lau, and starring Hong Kong veteran filmmakers Wu Zhenyu, Yam Tat-wah, Ku Kuiqi, Tan Yaowen and Zheng Haonan, the film "Two Thumbs Up" presents this long-standing and even castrated Hong Kong film scene, and the combination of novelty and classics brought by the joining of several elders of Galaxy Image is gratifying. In other words, the reappearance of Hong Kong flavor is a manifestation of the inability to compete in the modern chaotic film market and a tribute to the glorious years of Hong Kong films. I also have to say that this film pays tribute to too many familiar films, crazy emotions and unscrupulous rhythms.

In "Two Thumbs Up", dark police uniforms, long streets and short lanes, tattered minibuses and two thumbs up after changing clothes constitute the temperament of modern Hong Kong movies at the end of last century. The atmosphere of Hong Kong films deliberately created here seems to be a silent writing about Hong Kong, which is deeply hidden in an international metropolis, and more like a love letter to Hong Kong people. Its actors, costumes, lines, movements and temperament are all reminiscent of the golden age of Hong Kong movies, and experienced audiences undoubtedly act as the main creative profiler. This immortal spirit of Hong Kong has also made more audiences see the suppressed and despised Hong Kong film production mode and even people's entertainment mode. Through these unique shells of Hong Kong films, the inner sadness is expressed, which is a cultural spectacle replaced by history and time. And this kind of cultural spectacle, in "Two Thumbs Up", has become a kind of beauty that cannot be expressed and has nowhere to return, but it has also been talked about. In the two thumbs, there is still a strong flavor of Hong Kong films, full of fun, pop, subversion and collective sense. But after careful analysis, it is not difficult to find that Ho Leung Lau's films have slightly changed, and gradually have a more serious and orthodox spiritual core. "Two Thumbs Up" is no longer simply funny and exaggerated, but reflects the growth process of the return of human kindness. At the beginning, Fage (Wu Zhenyu), Funbao (Yam Tat-wah), Du Gongzi (Tan Yaowen) and Lin Dong (Zheng Haonan) all appeared as amateurs and gangsters, which led to a truly crazy and vicious gang, full of drama, comedy and strong funny taste. However, the director did not simply describe the relationship between the police and gangsters and bandits. He joined the role of "little girl" to show the growth experience of modern middle-aged people who are confused, and revealed a trace of true feelings and love through the narrative development of PTU and Unexpected. It can be said that this is the best explanation of the spiritual growth of the characters in Two Thumbs Up. Hong Kong filmmakers who are well versed in Lingnan culture always express their carnival of secular culture with their personal consciousness and feelings, which may be a deconstruction and subversion of Hong Kong culture. Compared with the black tonality of the galaxy image, this movie is quite happy and warm. "If you are black, you will always be a black thief", "Money is big, brothers are nothing", so outspoken, every word tells the truth of gangsters-want money, not brothers. After stealing the parts, refitting the car, putting on the police uniform and police cap, Fage, Funbao, Du Gongzi, and Lin Dong are ready to rob the body and get money, and they enjoy it, but they have no choice but to meet real bandits and rob the body. As a result, "clothes" became the strongest drama fulcrum of the film. Two teams of "gangsters" dressed in police uniforms began to stage a contest between justice and evil. In this process, the director also showed the comedy and sadness of Hong Kong films, and even the warmth in the play to the fullest.